I’m sure most (if not all) of you have your song selections pretty much set for this weekend, but in case you are still open to some suggestions, I'd like to share some songs I think work really well:
Rise Up In Splendor, by Tom Booth
- published by spiritandsong.com
I have always liked this song. The refrain is simple, singable, and can be used as a call and response if so desired. Verse one states so clearly, “Though darkness covers and we are blinded by sin our God shall save us and we shall walk in the light.” This is a great entrance song, might also be used at preparation.
( http://www.spiritandsong.com/compositions/31001 )
Rise Up In Splendor, by Aaron Thompson
- published by World Library Publications
Get some percussion going and some singers who can hold their own and this is a great opening to the Mass on Epiphany Sunday. You’ll want to teach the refrain and verse parts to the assembly (they’re the same) so they can truly participate. ( http://www.wlp.jspaluch.com/12126.htm )
Lord, Every Nation, by Jesse Manibusan
- published by spiritandsong.com
I love the feel and melody of this song. The verses are powerful and singable for all, though a soloist would serve them well. The refrain is very singable, especially for a Psalm setting. I seem to use this song whenever I get the chance! ( http://www.spiritandsong.com/compositions/31001 )
Christmas Offering, by Paul Baloche
- published by Integrity’s Hosanna! Music
The original version of this song was just called “Offering,” a beautiful text and melody that seemed to fit almost any time. Ref: “I bring an offering of worship to my king...” With the added verse text it is perfect for use on Epiphany: “Over the skies of Bethlehem appeared a star while angels sang to lowly shepherds.” I really encourage you to check out this song. Here is a very brief article along with some free downloads that Paul Baloche himself had written back in 2004.
( http://leadworship.com/resources/ChristmasOffering.html )
Please feel free to share some of your ideas with me.
Ed
Tuesday, December 28, 2010
Tuesday, December 21, 2010
MASSive Undertaking...
I just received the proofs of Mass of St. Ann–my new setting of the Mass for 2012. (Advent 2011) It got me thinking of the creative process I went through while setting the new text. Here was something I was so used to playing and singing a certain way...the rhythm of the words, the rise and fall of each phrase...and how some parts of it will be changed so dramatically. I can’t help but wonder what it will be like when we start teaching the “new” Mass parts. How long will it take before they once again become second nature to us all?
Perhaps the way we present them to our parishes will make all of the difference. In the weeks leading up to Advent, maybe we should introduce one or two new acclamations before Mass. Maybe we should hold a couple of evenings where we invite the congregation to attend “sing-throughs” of the new parts. Whichever the case, whether or not we ourselves are enthusiastic about the changes, we need to show enthusiasm when presenting them. It’s a great opportunity for catechesis; a great opportunity to share a little of why we sing what we sing when we sing it!
Perhaps the way we present them to our parishes will make all of the difference. In the weeks leading up to Advent, maybe we should introduce one or two new acclamations before Mass. Maybe we should hold a couple of evenings where we invite the congregation to attend “sing-throughs” of the new parts. Whichever the case, whether or not we ourselves are enthusiastic about the changes, we need to show enthusiasm when presenting them. It’s a great opportunity for catechesis; a great opportunity to share a little of why we sing what we sing when we sing it!
Tuesday, December 14, 2010
Voices Only, Please!
Last week at my parish of St. Ann's we had our 2nd annual Christmas Sing-Along. The church was filled, the lights were low, the candles (lots!) were lit and we sang our hearts out. It was beautiful! Piano, trumpet, flute, and 1000 voices filled the night with carols, songs, and hymns.
Maybe that's what inspired me to lead the Psalm on Sunday with no instrumentation! I had planned on writing a new setting for “Lord, Come and Save Us,” but with so much going on...concerts, NFCYM in New Orleans...I never got around to it. I had a nice simple melody for the refrain, but nothing for the verses. So, I decided to chant it from the ambo! I could almost hear everyone’s eyebrows raise as I got up from the piano and walked up the steps to lead the Psalm. They all probably thought I was going to fix the microphone or something. Instead, I just started singing–and everyone immediately followed. It was perfectly natural. No piano; no band...just voices.
That was a stretch for me. I am used to the security of being seated at the piano– not standing at the ambo with a light focused on me and nothing to do with my hands! But I have to say, it was pretty cool. It was a nice change from what we normally would do at that contemporary mass. It was good for the assembly, good for the band, and good for me, too.
And it sounded great...!!!
Maybe that's what inspired me to lead the Psalm on Sunday with no instrumentation! I had planned on writing a new setting for “Lord, Come and Save Us,” but with so much going on...concerts, NFCYM in New Orleans...I never got around to it. I had a nice simple melody for the refrain, but nothing for the verses. So, I decided to chant it from the ambo! I could almost hear everyone’s eyebrows raise as I got up from the piano and walked up the steps to lead the Psalm. They all probably thought I was going to fix the microphone or something. Instead, I just started singing–and everyone immediately followed. It was perfectly natural. No piano; no band...just voices.
That was a stretch for me. I am used to the security of being seated at the piano– not standing at the ambo with a light focused on me and nothing to do with my hands! But I have to say, it was pretty cool. It was a nice change from what we normally would do at that contemporary mass. It was good for the assembly, good for the band, and good for me, too.
And it sounded great...!!!
Tuesday, December 7, 2010
Do you hear what THEY hear?
So, this past Sunday, 5 minutes before Mass was to begin, we were still trying to figure out why the musicians had NO monitors at all. With electric instruments, including drums, the only thing we could hear was the piano, and that was kind of quiet since we keep the lid down. Now, our church was recently renovated and has a pretty sophisticated sound system installed. When everything is functioning properly it’s pretty cool. In this case, however, there was a problem. I haven’t been involved in that part of the Audio/Visual Ministry at all since the redesign, so when the sound tech told me that we didn’t have monitors because the “wireless network” was down my immediate thought was: “...um...what? Did you just say ‘wireless network?’” It seems that, yes, there is a wireless network involved in our sound system. (I guess I’d better get more involved in that part of the A/V Ministry.)
ANYway...eventually we figured it out (unplugged cable), but not until much later. In the meantime everyone had to really listen carefully to what was coming out of the main speakers. The result? Coolness! (from a singing perspective) For the first time I heard the assembly really sing on “Awake to the Day,” which was our Song of Gathering. The assembly part in the verse was so present to me for the first time. We were literally all hearing the same thing at the same time. No headphones, no blaring floor wedges...nothing but what was coming out of the house speakers and the assembly’s voices.
It reminded me that, from time to time, it’s so important to ‘take a listen’ to what the assembly hears. Sure, the sound techs do that all the time, but as Music Directors we need to do the same on a regular basis. Step out front when you can...let the musicians carry the song while you sit in the pew for a moment. Listen to how you and the band/choir are “setting the tone.”
ANYway...eventually we figured it out (unplugged cable), but not until much later. In the meantime everyone had to really listen carefully to what was coming out of the main speakers. The result? Coolness! (from a singing perspective) For the first time I heard the assembly really sing on “Awake to the Day,” which was our Song of Gathering. The assembly part in the verse was so present to me for the first time. We were literally all hearing the same thing at the same time. No headphones, no blaring floor wedges...nothing but what was coming out of the house speakers and the assembly’s voices.
It reminded me that, from time to time, it’s so important to ‘take a listen’ to what the assembly hears. Sure, the sound techs do that all the time, but as Music Directors we need to do the same on a regular basis. Step out front when you can...let the musicians carry the song while you sit in the pew for a moment. Listen to how you and the band/choir are “setting the tone.”
Monday, November 29, 2010
What are YOU looking at?
In many churches today the music ministry is a very visible part of the liturgical celebration. Usually stationed up front, on one side of the sanctuary or the other, most everyone in the assembly can see as well as hear us. The way we look when we sing or play, how we act, or even what we wear–all of these things contribute to the tone we set as we perform our ministry.
Here are a few things to consider:
1. Where is your attention at any given time? Obviously, when you are playing or singing, your attention is on the music, your instrument, making eye-contact with the assembly, directing other band members, etc. But what happens when the song is over? Are we fumbling through our music? Are we chatting about what went wrong during the song? Looking for a pencil to write something down? Or...are we focused on the reading that is being proclaimed, listening attentively to the homily, joining in a spoken response with the assembly, etc? Simply asking everyone in the band/group to turn their attention–mentally and physically– to the presider or lector can make a huge difference both for yourselves and for the assembly who may be watching you.
2. Our main goal is to lead the assembly in song, not perform for them. Sure, there are moments when we can and should use our gifts to enhance a song and even inspire others to sing along or simply be moved by the music...but let’s not make it about us...ever. Let’s leave the mics on the stands. (I can never think of a reason to hold the mic in your hand.) Be inviting, not distracting. It’s not a time to show what kind of a vocal range we have, or how many notes we can fit in a run, or how complex a solo we can play. By simply doing our music well we can encourage the assembly to join with us and lift their voices, too.
3. It’s pretty much a given that we should try and look presentable, not necessarily in a shirt and tie or a dress, but certainly not in sweats and probably not t-shirts, unless they were specifically made for the parish, a parish event, or something similar. All parishes are different and have their own expectations on what we should wear. Let’s just make sure we are respectful in what we choose.
4. Water bottles everywhere...what is the deal with water bottles!? I’ll be honest, I am usually singing and playing 3 masses in a row, and I never need to have a water bottle unless I’m fighting a cold or something. Why does the whole band need water bottles? Even if you’re not singing! Are you working up a thirst just by playing a guitar or a keyboard? I can see how it makes sense for someone who plays a wind instrument. Okay...enough about the water bottles. If you need it, use it. If not, just get it out of the way. It starts to look too much like a stage at a gig!
I think it’s important that, when playing music at Mass, we are aware that we are visible to many. Let’s set a good example for those who may be watching. We are, after all, at Mass. We are a part of the assembly.
Here are a few things to consider:
1. Where is your attention at any given time? Obviously, when you are playing or singing, your attention is on the music, your instrument, making eye-contact with the assembly, directing other band members, etc. But what happens when the song is over? Are we fumbling through our music? Are we chatting about what went wrong during the song? Looking for a pencil to write something down? Or...are we focused on the reading that is being proclaimed, listening attentively to the homily, joining in a spoken response with the assembly, etc? Simply asking everyone in the band/group to turn their attention–mentally and physically– to the presider or lector can make a huge difference both for yourselves and for the assembly who may be watching you.
2. Our main goal is to lead the assembly in song, not perform for them. Sure, there are moments when we can and should use our gifts to enhance a song and even inspire others to sing along or simply be moved by the music...but let’s not make it about us...ever. Let’s leave the mics on the stands. (I can never think of a reason to hold the mic in your hand.) Be inviting, not distracting. It’s not a time to show what kind of a vocal range we have, or how many notes we can fit in a run, or how complex a solo we can play. By simply doing our music well we can encourage the assembly to join with us and lift their voices, too.
3. It’s pretty much a given that we should try and look presentable, not necessarily in a shirt and tie or a dress, but certainly not in sweats and probably not t-shirts, unless they were specifically made for the parish, a parish event, or something similar. All parishes are different and have their own expectations on what we should wear. Let’s just make sure we are respectful in what we choose.
4. Water bottles everywhere...what is the deal with water bottles!? I’ll be honest, I am usually singing and playing 3 masses in a row, and I never need to have a water bottle unless I’m fighting a cold or something. Why does the whole band need water bottles? Even if you’re not singing! Are you working up a thirst just by playing a guitar or a keyboard? I can see how it makes sense for someone who plays a wind instrument. Okay...enough about the water bottles. If you need it, use it. If not, just get it out of the way. It starts to look too much like a stage at a gig!
I think it’s important that, when playing music at Mass, we are aware that we are visible to many. Let’s set a good example for those who may be watching. We are, after all, at Mass. We are a part of the assembly.
Tuesday, November 23, 2010
Happy New Year!
(Sorry this is a little late today...sick kid takes priority!)
It’s Advent, probably my favorite time of year. I love the season, the traditions, the anticipation...and I love the music! Liturgically, it’s a new year and it might be nice if even our music could show some sort of marked change, especially over these next four weeks.
There are some built-in changes: the Gloria will not be sung, and music we save for Advent makes an appearance, but there are some other things we can do as well to really set the tone for this season:
1. Instrumentation. This might be a good time to mix things up a bit. Lots of brass in your band? Save them for the last song, if even that! Hold off until Christmas, then really let the horns “do their thing.” If that’s not the best option, maybe mellow out the parts a bit...lower registers, less busy, etc.
Bring in a flute or an oboe, or even a cello. Try focusing on a new sound or texture for the next few weeks. If you’re singing a new mass part for Advent, feature one of these instruments in the introduction, or with a nice descant.
2. Sing the Penitential Rite. There are lots of great settings, but you could even customize your own. Change up the invocations for a Kyrie or Lord, Have Mercy that your assembly already knows. Ask your liturgist to help you write new ones. Perhaps the priest or deacon can chant the new verses while you and the assembly respond with a familiar setting.
3. Let’s focus on the voices. I’ve mentioned before how much I love to sing “O Come, O Come, Emmanuel” with the assembly. (I’ll be using it all four weeks of Advent.) One of my favorite ways is as a gathering song, then reprising it after communion. NO BAND!!! Let the people sing; just start them off. Trust me, they will do it. You just have to give them a chance, and, perhaps, a little encouragement.
If your church is really reverberant, take this opportunity (if you don’t already do this) to invite your assembly to experience and love the sound of all of our voices singing together in such a beautiful building. Invite them during this season especially to really stretch out of their comfort zone and lift their voices. Just make sure to use a really singable song when you do that! O Come, O Come Emmanuel? :-)
Finally, I’d just like to mention a few of my favorite Advent songs that we use this time of year. Please feel free to share your ideas as well. We can always use more Advent song ideas and creative ways to use them.
Come, Emmanuel (Paul Tate—World Library Publications)
Find Us Ready (Tom Booth—OCP/Spirit and Song)
Awake to the Day (Ed Bolduc/John Barker—World Library Publications)
Prepare the Way (Charlie Hall/Louie Giglio—EMI)
My Deliverer (Rich Mullins/Mitch McVicker—Word Music Group)
Prepare the Way (Tom Booth—OCP/Spirit and Song)
It’s Advent, probably my favorite time of year. I love the season, the traditions, the anticipation...and I love the music! Liturgically, it’s a new year and it might be nice if even our music could show some sort of marked change, especially over these next four weeks.
There are some built-in changes: the Gloria will not be sung, and music we save for Advent makes an appearance, but there are some other things we can do as well to really set the tone for this season:
1. Instrumentation. This might be a good time to mix things up a bit. Lots of brass in your band? Save them for the last song, if even that! Hold off until Christmas, then really let the horns “do their thing.” If that’s not the best option, maybe mellow out the parts a bit...lower registers, less busy, etc.
Bring in a flute or an oboe, or even a cello. Try focusing on a new sound or texture for the next few weeks. If you’re singing a new mass part for Advent, feature one of these instruments in the introduction, or with a nice descant.
2. Sing the Penitential Rite. There are lots of great settings, but you could even customize your own. Change up the invocations for a Kyrie or Lord, Have Mercy that your assembly already knows. Ask your liturgist to help you write new ones. Perhaps the priest or deacon can chant the new verses while you and the assembly respond with a familiar setting.
3. Let’s focus on the voices. I’ve mentioned before how much I love to sing “O Come, O Come, Emmanuel” with the assembly. (I’ll be using it all four weeks of Advent.) One of my favorite ways is as a gathering song, then reprising it after communion. NO BAND!!! Let the people sing; just start them off. Trust me, they will do it. You just have to give them a chance, and, perhaps, a little encouragement.
If your church is really reverberant, take this opportunity (if you don’t already do this) to invite your assembly to experience and love the sound of all of our voices singing together in such a beautiful building. Invite them during this season especially to really stretch out of their comfort zone and lift their voices. Just make sure to use a really singable song when you do that! O Come, O Come Emmanuel? :-)
Finally, I’d just like to mention a few of my favorite Advent songs that we use this time of year. Please feel free to share your ideas as well. We can always use more Advent song ideas and creative ways to use them.
Come, Emmanuel (Paul Tate—World Library Publications)
Find Us Ready (Tom Booth—OCP/Spirit and Song)
Awake to the Day (Ed Bolduc/John Barker—World Library Publications)
Prepare the Way (Charlie Hall/Louie Giglio—EMI)
My Deliverer (Rich Mullins/Mitch McVicker—Word Music Group)
Prepare the Way (Tom Booth—OCP/Spirit and Song)
Tuesday, November 16, 2010
The practice of ‘not practicing’
My piano teacher in college gave me some great advice at one of my lessons. I had just been asked to accompany a singer for an event, and some of the music was really challenging. The original accompanist had to cancel at the last minute, so I only had a day to prepare. My teacher told me, “Don’t bother practicing the stuff you think you can just sight-read off the page. Instead, go right to the difficult sections and find a way through it!” What great advice! I spent my time practicing what I needed to practice, and trusted myself to be able to read the other sections well enough for the performance. I focused on what needed my attention the most.
I find that this advice applies very well to Sunday mornings at our parish. I currently lead two groups that do not rehearse during the week. All are volunteers, and all arrive about 30 minutes prior to the start of Mass. Sometime during the previous week I will email them the list of songs we are doing, in case they want to look at them ahead of time. On Sunday, we don't have time to practice anything we ‘know,’ so we only focus on those songs that are new, particularly challenging, or somehow different than we’ve done them before. Sure, playing through a song we all know and like would sound great, but we need that time to settle in and focus on what might lead to a potential train wreck.
Think of it this way: do you practice the Mass parts every week? Probably not. Instead, you rely on the fact that you are really familiar with them; you know them; there is no real need to rehearse them. When they come up in the liturgy, everyone will be able to play them well.
The same can apply to the songs we know well. Instead, use your limited time (if, in fact, that is all you have) to ‘hit’ the spots that are troublesome or difficult. Don’t spend the precious time you have reviewing what is already familiar, or simple.
I find that I carry my teacher’s advice with me quite often. We all can. The more you play, the more you get used to seeing what’s on the page. Your sight-reading improves and you find that you have, perhaps, less areas to practice or “find a way through.”
Thanks, Carey. You were a great teacher.
I find that this advice applies very well to Sunday mornings at our parish. I currently lead two groups that do not rehearse during the week. All are volunteers, and all arrive about 30 minutes prior to the start of Mass. Sometime during the previous week I will email them the list of songs we are doing, in case they want to look at them ahead of time. On Sunday, we don't have time to practice anything we ‘know,’ so we only focus on those songs that are new, particularly challenging, or somehow different than we’ve done them before. Sure, playing through a song we all know and like would sound great, but we need that time to settle in and focus on what might lead to a potential train wreck.
Think of it this way: do you practice the Mass parts every week? Probably not. Instead, you rely on the fact that you are really familiar with them; you know them; there is no real need to rehearse them. When they come up in the liturgy, everyone will be able to play them well.
The same can apply to the songs we know well. Instead, use your limited time (if, in fact, that is all you have) to ‘hit’ the spots that are troublesome or difficult. Don’t spend the precious time you have reviewing what is already familiar, or simple.
I find that I carry my teacher’s advice with me quite often. We all can. The more you play, the more you get used to seeing what’s on the page. Your sight-reading improves and you find that you have, perhaps, less areas to practice or “find a way through.”
Thanks, Carey. You were a great teacher.
Monday, November 8, 2010
Something old, something new, something borrowed...something cool!
Changes in Liturgical Seasons provide great opportunities to change things up a bit. They are also wonderful times to get creative. I just received an email from someone who is creating music for an Advent Penitential Rite based on the Kyrie I composed/arranged in the Mass of Celebration. (WLP 008213) She composed her own verses based on the theme/harmonic structure of this Kyrie, which they’ve been using, and is planning on interspersing them among the 3 ‘refrains.’ This way the assembly can have something old (or familiar) combined with something new. It’s still fresh for the new season, but familiar enough that they will be able to sing it easily.
That’s often the trickiest part about changing acclamations for Advent. There are only 4 weeks. Learning something completely new that goes away in a month is not always the best choice. But, if it can be combined with something familiar, then the chance of success goes way up.
I spoke last year of creating a Gospel Acclamation out of The First Noel, where, instead of singing “Noel, noel, noel, noel! Born is the King of Israel,” you would sing “Alleluia, alleluia! Come, Holy King of Israel!” Then, at Midnight Mass and the following Christmas Season you would sing “Alleluia, alleluia! Born is the King of Israel.” It works beautifully. Most everyone already knows the melody and you could even get a little more creative with the chords to change it up even further.
I’ve also used the melody of “God Rest Ye Merry, Gentlemen” as the basis for a “Holy, Holy.” OCP publishes a wonderful “Lamb of God” by Kevin Keil based on “O Come, O Come, Emmanuel.” (Glory & Praise II, # 150)
As always, our goal is to enable and encourage the assembly to sing these acclamations, not listen to the choir. Giving them a familiar melody with a new text can really help engage everyone.
Please share with me your thoughts and ideas on what has worked, and maybe what hasn't worked so well. Perhaps we can share some fresh, new ways to help each other out!
That’s often the trickiest part about changing acclamations for Advent. There are only 4 weeks. Learning something completely new that goes away in a month is not always the best choice. But, if it can be combined with something familiar, then the chance of success goes way up.
I spoke last year of creating a Gospel Acclamation out of The First Noel, where, instead of singing “Noel, noel, noel, noel! Born is the King of Israel,” you would sing “Alleluia, alleluia! Come, Holy King of Israel!” Then, at Midnight Mass and the following Christmas Season you would sing “Alleluia, alleluia! Born is the King of Israel.” It works beautifully. Most everyone already knows the melody and you could even get a little more creative with the chords to change it up even further.
I’ve also used the melody of “God Rest Ye Merry, Gentlemen” as the basis for a “Holy, Holy.” OCP publishes a wonderful “Lamb of God” by Kevin Keil based on “O Come, O Come, Emmanuel.” (Glory & Praise II, # 150)
As always, our goal is to enable and encourage the assembly to sing these acclamations, not listen to the choir. Giving them a familiar melody with a new text can really help engage everyone.
Please share with me your thoughts and ideas on what has worked, and maybe what hasn't worked so well. Perhaps we can share some fresh, new ways to help each other out!
Tuesday, November 2, 2010
Wear your concert clothes
We’re at that time of year when we start seriously looking at what we’re going to do in terms of a Christmas program or concert at our parish. For many of us, rehearsals may already be well under way! Traditionally, most churches will present a concert by the parish choir. Here’s another idea that takes much, much less preparation and can be really effective: a sing-along.
Last year we were unable to present a music ministry concert in our parish. We still wanted to offer something, so we went this route. We rolled the piano out front, had a trumpet player on one side, a flute on the other, and my wife, Karen, and I led the assembly in traditional and contemporary carols and songs that our assembly knew well. We dimmed the lights, lit a few candles, and really tried to set the tone for an evening celebrating Advent and Christmas. To mix it up I would throw in a piano solo, Karen and I would sing (perform) a song, we'd have instrumental interludes, etc. The feedback we received was incredible! The church was full.
People kept telling me that this was one thing that really got them into the spirit of the season. We’re always going around from party to party, from store to store, etc. Sure, it helps to hear Christmas music on the radio, but this was very different. We all paused in our place of worship, our church, and took some time to appreciate the beautiful melodies and lyrics that mark this most glorious of events in our world. I’ve heard our church sing before...but even this was different. It truly was inspiring, moving, and beautiful...especially when all of the adults went silent as the children sang “Away in a Manger” by themselves! (Not a dry eye in the house.)
Karen and I kept sharing with everyone how this truly was the most enjoyable ‘concert’ we had ever been a part of. We would start a song, then step back from our mics and let the assembly carry it. That was the goal of the night. It wasn’t about us performing; it was about the assembly...all of us...singing these songs together. They will. They want to. Just give them a chance.
I mentioned that we had both a trumpet and flute player as well. If you are in need of any parts or descants for the Christmas/Advent seasons, (or any other time) you should check out the C Instrument Companion from World Library Publications. This is why this was created. Most songs in this collection have melody and two descants for instruments. All of the work is done for you. (You would need to transpose to B-flat for those instruments.) There are more than 500 titles in this 2-book collection from various publishers (including OCP and GIA). (www.wlpmusic.com, 002475, $95.00)
Last year we were unable to present a music ministry concert in our parish. We still wanted to offer something, so we went this route. We rolled the piano out front, had a trumpet player on one side, a flute on the other, and my wife, Karen, and I led the assembly in traditional and contemporary carols and songs that our assembly knew well. We dimmed the lights, lit a few candles, and really tried to set the tone for an evening celebrating Advent and Christmas. To mix it up I would throw in a piano solo, Karen and I would sing (perform) a song, we'd have instrumental interludes, etc. The feedback we received was incredible! The church was full.
People kept telling me that this was one thing that really got them into the spirit of the season. We’re always going around from party to party, from store to store, etc. Sure, it helps to hear Christmas music on the radio, but this was very different. We all paused in our place of worship, our church, and took some time to appreciate the beautiful melodies and lyrics that mark this most glorious of events in our world. I’ve heard our church sing before...but even this was different. It truly was inspiring, moving, and beautiful...especially when all of the adults went silent as the children sang “Away in a Manger” by themselves! (Not a dry eye in the house.)
Karen and I kept sharing with everyone how this truly was the most enjoyable ‘concert’ we had ever been a part of. We would start a song, then step back from our mics and let the assembly carry it. That was the goal of the night. It wasn’t about us performing; it was about the assembly...all of us...singing these songs together. They will. They want to. Just give them a chance.
I mentioned that we had both a trumpet and flute player as well. If you are in need of any parts or descants for the Christmas/Advent seasons, (or any other time) you should check out the C Instrument Companion from World Library Publications. This is why this was created. Most songs in this collection have melody and two descants for instruments. All of the work is done for you. (You would need to transpose to B-flat for those instruments.) There are more than 500 titles in this 2-book collection from various publishers (including OCP and GIA). (www.wlpmusic.com, 002475, $95.00)
Tuesday, October 26, 2010
Ssshhh...you sound GREAT!!!
This week I would like to expand on something I had said last week in “Wait for it...”:
“Sometimes one of the most musical things you can do is to not play anything. Then, when you do, it is something special.”
While last week I was referring mostly to solo instruments in an ensemble, this really applies to everyone in the group. Think about it: if we started every song with “1, 2, 3, 4” and everyone came in on the downbeat every time and played all the way to the end with no one ever dropping out, that would begin to lose it’s impact after the 2nd song! That’s not music. That’s everyone playing what they want until the song is over. There are no highs and lows. No contrast. Just a wall of sound from beginning to end. Instead, we need to listen and play our music in such a way that it starts to become an arrangement.
It could be as easy as telling the bass and drums not to play the intro and first verse. Instead, the bass could come in later, on the refrain. The drums could then start with some cymbal swells, light tapping on the cymbals, maybe a soft kick drum. At the next section of the song the drums would come in full, along with maybe a clean electric guitar. It depends on the song, but the possibilities are ENDLESS!!! You only have to make them happen and, honestly, it’s a lot more fun to play this way...for everyone. It’s musical, and that is always engaging.
Singers...the same goes for you (myself included). We need to stop having everyone in the group sing every note and every lyric from beginning to end...into the mic. Just like it’s important, for the sake of musicality, to vary the texture of the instruments, it is equally important to vary the texture of the voices. They are, after all, another instrument. Yes, sing all of the time, just not directly into your microphone until the song calls for it. Imagine if, during a violin concerto, some of the other violinists in the orchestra decided to play the solo part! Or, if during a (insert your favorite pop start here) concert, some of the backing singers decided to sing along on his/her verse! I know this situation is somewhat different; we’re not promoting/featuring a single person or artist...but we’re still talking about music! While the cantor/soloist leads their part, sing along with the assembly off the mic. When it’s time for group vocals or harmonies, lean back into the microphone and add to the sound!
Just think of an orchestra. Everyone doesn’t play all of the time. Some players have to rest for what seems like forever. But, when their part comes in...awesome. Remember that you are part of a group. Everything you do matters...even not playing or singing.
“Sometimes one of the most musical things you can do is to not play anything. Then, when you do, it is something special.”
While last week I was referring mostly to solo instruments in an ensemble, this really applies to everyone in the group. Think about it: if we started every song with “1, 2, 3, 4” and everyone came in on the downbeat every time and played all the way to the end with no one ever dropping out, that would begin to lose it’s impact after the 2nd song! That’s not music. That’s everyone playing what they want until the song is over. There are no highs and lows. No contrast. Just a wall of sound from beginning to end. Instead, we need to listen and play our music in such a way that it starts to become an arrangement.
It could be as easy as telling the bass and drums not to play the intro and first verse. Instead, the bass could come in later, on the refrain. The drums could then start with some cymbal swells, light tapping on the cymbals, maybe a soft kick drum. At the next section of the song the drums would come in full, along with maybe a clean electric guitar. It depends on the song, but the possibilities are ENDLESS!!! You only have to make them happen and, honestly, it’s a lot more fun to play this way...for everyone. It’s musical, and that is always engaging.
Singers...the same goes for you (myself included). We need to stop having everyone in the group sing every note and every lyric from beginning to end...into the mic. Just like it’s important, for the sake of musicality, to vary the texture of the instruments, it is equally important to vary the texture of the voices. They are, after all, another instrument. Yes, sing all of the time, just not directly into your microphone until the song calls for it. Imagine if, during a violin concerto, some of the other violinists in the orchestra decided to play the solo part! Or, if during a (insert your favorite pop start here) concert, some of the backing singers decided to sing along on his/her verse! I know this situation is somewhat different; we’re not promoting/featuring a single person or artist...but we’re still talking about music! While the cantor/soloist leads their part, sing along with the assembly off the mic. When it’s time for group vocals or harmonies, lean back into the microphone and add to the sound!
Just think of an orchestra. Everyone doesn’t play all of the time. Some players have to rest for what seems like forever. But, when their part comes in...awesome. Remember that you are part of a group. Everything you do matters...even not playing or singing.
Monday, October 18, 2010
Wait for it...
Every week when we sing the “Glory to God” there’s a point where our trumpet player plays a phrase that seems to lift the music to a higher place. The music builds and you can almost see the assembly’s faces light up a little. You can’t help but be moved. It’s inspiring. Our collective voices get a little stronger as we continue to sing: “...with the Holy Spirit in the glory of God the Father! Glory to God in the highest!” From week to week it’s wonderful to see people almost ‘waiting’ for that part to happen. Wanting it to happen.
Creating those kind of musical moments is an important part of what we do. It’s one thing to give an instrumentalist a part and say “Here is the part. Here is the intro. See you at the end!” (I’ve done that many times myself, I must admit.) It’s another to weave their part in and out of the music, letting it come out of the texture, and then lay silent for awhile. This is especially true when there are 2 or more instruments. I’m talking about arranging.
Hearing a flute, trumpet, oboe, clarinet...whatever...playing melody or descant the entire song, or even on every song, is not only poor arranging, it’s boring! The ear gets used to hearing it and almost tunes it out. It is no longer adding anything special. It’s just become part of the regular accompaniment, almost like a guitar or piano comping the chords. Instead, experiment with more creative uses: feature these instruments on the introduction, interludes, and instrumental verses. Lessen the accompaniment, if necessary, so it can be heard. Let these wonderful instruments add to the arrangement, not become lost in it.
Some composers are also skilled arrangers and have already thought a lot of this through for you. This is especially true for choral octavos with instrumental parts included in the score. It’s different, though, when we have to come up with a part on the spot, they have to read off of a lead sheet, or we’re only doing part of a song, etc.
You can find C, B-flat, and Saxophone & Brass instrument parts/books from many publishers, including WLP, OCP, and G.I.A. I was part of the editorial team that helped put together the instrument books for Voices as One volumes 1 & 2 (World Library Publications). With all of these books the challenge is to be creative with the music. Talented arrangers have created some wonderful parts for you to play, but every liturgy, every music group, and every situation is not the same. Just because it’s on the page does not mean you need to play it every time! I’m sure even they would tell you to arrange them in a way that makes them interesting, musical, and engaging for your assembly.
Remember, sometimes one of the most musical things you can do is not play anything. Then, when you do, it is something special.
Creating those kind of musical moments is an important part of what we do. It’s one thing to give an instrumentalist a part and say “Here is the part. Here is the intro. See you at the end!” (I’ve done that many times myself, I must admit.) It’s another to weave their part in and out of the music, letting it come out of the texture, and then lay silent for awhile. This is especially true when there are 2 or more instruments. I’m talking about arranging.
Hearing a flute, trumpet, oboe, clarinet...whatever...playing melody or descant the entire song, or even on every song, is not only poor arranging, it’s boring! The ear gets used to hearing it and almost tunes it out. It is no longer adding anything special. It’s just become part of the regular accompaniment, almost like a guitar or piano comping the chords. Instead, experiment with more creative uses: feature these instruments on the introduction, interludes, and instrumental verses. Lessen the accompaniment, if necessary, so it can be heard. Let these wonderful instruments add to the arrangement, not become lost in it.
Some composers are also skilled arrangers and have already thought a lot of this through for you. This is especially true for choral octavos with instrumental parts included in the score. It’s different, though, when we have to come up with a part on the spot, they have to read off of a lead sheet, or we’re only doing part of a song, etc.
You can find C, B-flat, and Saxophone & Brass instrument parts/books from many publishers, including WLP, OCP, and G.I.A. I was part of the editorial team that helped put together the instrument books for Voices as One volumes 1 & 2 (World Library Publications). With all of these books the challenge is to be creative with the music. Talented arrangers have created some wonderful parts for you to play, but every liturgy, every music group, and every situation is not the same. Just because it’s on the page does not mean you need to play it every time! I’m sure even they would tell you to arrange them in a way that makes them interesting, musical, and engaging for your assembly.
Remember, sometimes one of the most musical things you can do is not play anything. Then, when you do, it is something special.
Monday, October 11, 2010
Where have I heard that before?
I know I often fall into the habit of always choosing a “Communion Meditation” song or “Song of Meditation,” or “Song After Communion,” or whatever name we give it. Lately, however, we have been doing something a little different at my parish. Instead of choosing a different song for that moment, we have been reprising one of the earlier songs we’ve sung that morning. It might be the gathering song, the offertory song, or maybe even the Psalm. Usually, the instrumentation is lighter, at least at the beginning, and it usually ends with the assembly singing unaccompanied. It’s often NOT the entire song–maybe just the refrain, or one verse and the refrain. (Perhaps we’ll sing a verse or a bridge that we didn’t sing earlier.)
I’ve found that this is particularly effective when you’ve introduced a new song that morning...one the assembly hasn’t quite learned, yet. This does two things: 1) It solidifies the melody in the assembly’s memory, and 2) It solidifies the text (lyric) as well. What we sang earlier still applies now! It’s a great way to bring back a theme, or a point in the gospel that was addressed in the homily. It really helps to tie things together.
Don’t be worried that it’s some sort of a ‘cop out’ or a way of avoiding having to choose another song. Instead, think of it as an effective means of engaging the assembly. Remember that our job...our role...as music ministers/leaders is to lead the assembly, not sing for them.
Sometimes leading means getting out of the way! Instead of having the whole band/group play the song as they did earlier, just use guitar and piano, or just one instrument along with a few voices. Let’s let the people hear themselves sing. It’s a wonderful, prayerful, moving sound.
I’ve found that this is particularly effective when you’ve introduced a new song that morning...one the assembly hasn’t quite learned, yet. This does two things: 1) It solidifies the melody in the assembly’s memory, and 2) It solidifies the text (lyric) as well. What we sang earlier still applies now! It’s a great way to bring back a theme, or a point in the gospel that was addressed in the homily. It really helps to tie things together.
Don’t be worried that it’s some sort of a ‘cop out’ or a way of avoiding having to choose another song. Instead, think of it as an effective means of engaging the assembly. Remember that our job...our role...as music ministers/leaders is to lead the assembly, not sing for them.
Sometimes leading means getting out of the way! Instead of having the whole band/group play the song as they did earlier, just use guitar and piano, or just one instrument along with a few voices. Let’s let the people hear themselves sing. It’s a wonderful, prayerful, moving sound.
Tuesday, October 5, 2010
When all else fails...sing!!!
Picture this: a beautiful (hot) sunny day, 150 or so people (parents, teachers, and kids) 50 or so household pets...and a sound system that just refuses to work. That was the scene as we got ready to celebrate a pet-blessing outside of our church last week. It was just one of those things. All of the preparations had been made. Everyone had done their job. It just so happened that a sound system we ALWAYS use decided to go crazy. As I looked up from my last failed attempt to get it to work, the pre-school director said, “Were ready.” I looked at my wife who was there to sing with me while I played keyboard. We just sighed, shrugged our shoulders, and walked over in front of the assembled guests. I said something like, “Well, the sound system doesn’t work, but our voices do! Let’s sing!” We led everyone in a couple of choruses of “Blessed Be Your Name” by Matt Redman. Everyone clapped their hands to the beat...and it worked just fine.
That is pretty much out of my comfort zone! I would much rather be behind the piano, even if I’m not playing it, but sometimes we must stretch ourselves to do what is needed. The important thing was to engage the kids in song as we began our liturgy. Using that chorus worked great. They didn’t need to hear a piano or a cantor singing verses. In hindsight, what we did actually worked better. It was MORE engaging and a lot easier to set up!
So, once again I was reminded of a lesson I often forget: when all else fails...sing! The voice is the ultimate instrument. Everyone has one and knows how to use it.
Of course, it’s really important to choose a song everyone knows and sings well without accompaniment. The other songs we did that day were:
Give Thanks to the Lord (Tom Booth/OCP)
Let All Creation Sing Alleluia! (Paul Tate/WLP)
That is pretty much out of my comfort zone! I would much rather be behind the piano, even if I’m not playing it, but sometimes we must stretch ourselves to do what is needed. The important thing was to engage the kids in song as we began our liturgy. Using that chorus worked great. They didn’t need to hear a piano or a cantor singing verses. In hindsight, what we did actually worked better. It was MORE engaging and a lot easier to set up!
So, once again I was reminded of a lesson I often forget: when all else fails...sing! The voice is the ultimate instrument. Everyone has one and knows how to use it.
Of course, it’s really important to choose a song everyone knows and sings well without accompaniment. The other songs we did that day were:
Give Thanks to the Lord (Tom Booth/OCP)
Let All Creation Sing Alleluia! (Paul Tate/WLP)
Tuesday, September 14, 2010
Song Suggestion: Come to Jesus
What is it about some songs? As soon as you start singing them, all feels “right” and you just know that it’s going to really engage the assembly and touch their hearts and souls. Some songs seem to have that perfect balance of lyric, melody, and accompaniment that just simply works. For me, “Come to Jesus” by Josh Blakesley and Sarah Hart is one of those songs.
Published by spiritandsong.com, the recording from Josh’s album “Waiting,” produced by Jeff Thomas, is really beautiful and well–done. When you hear it you immediately want to sing along. You want to share it with your assembly. The melody is simple and in a comfortable range. (I play it in C major.) The lyrics are wonderfully inviting–literally and artistically.
The first thing you will notice when you listen to the song is the guitar-based intro. As a keyboard player, I always need to adapt guitar–driven songs for the piano, especially if I’m the one leading. “Come to Jesus” starts with an 8th note pattern, setting up a pulse that is a nice support for the melody. It’s not a typical strum-along. That would change the feel completely. The 8th note pattern is crucial, I think, to setting the tone of this song. The way I play it is to alternate between a fourth and a third in the right hand, using lots of pedal to ‘muddy’ it up. G below middle C is on the bottom. The pattern looks something like this:
Top note: C C C B B C C C C C C B B C C C
Bottom note: G each time
I use that for the intro, playing low whole notes in the left hand, of course. When the verse melody comes in I simply play the melody as the top note, keeping the G on the bottom, and maintaining that 8th note pulse. When we get to: “Let go your every fear...” I switch to a more standard/typical piano accompaniment.
The way we introduce a song, or “set it up” instrumentally, can greatly impact it’s overall success. Be careful to play in a way that captures the flavor of the song. Play in a way that supports the melody and doesn’t distract from it.
I hope you are able to check out this song and will consider sharing it with your assembly. I think you will find that it is both beautiful and effective in drawing people into worship.
Published by spiritandsong.com, the recording from Josh’s album “Waiting,” produced by Jeff Thomas, is really beautiful and well–done. When you hear it you immediately want to sing along. You want to share it with your assembly. The melody is simple and in a comfortable range. (I play it in C major.) The lyrics are wonderfully inviting–literally and artistically.
The first thing you will notice when you listen to the song is the guitar-based intro. As a keyboard player, I always need to adapt guitar–driven songs for the piano, especially if I’m the one leading. “Come to Jesus” starts with an 8th note pattern, setting up a pulse that is a nice support for the melody. It’s not a typical strum-along. That would change the feel completely. The 8th note pattern is crucial, I think, to setting the tone of this song. The way I play it is to alternate between a fourth and a third in the right hand, using lots of pedal to ‘muddy’ it up. G below middle C is on the bottom. The pattern looks something like this:
Top note: C C C B B C C C C C C B B C C C
Bottom note: G each time
I use that for the intro, playing low whole notes in the left hand, of course. When the verse melody comes in I simply play the melody as the top note, keeping the G on the bottom, and maintaining that 8th note pulse. When we get to: “Let go your every fear...” I switch to a more standard/typical piano accompaniment.
The way we introduce a song, or “set it up” instrumentally, can greatly impact it’s overall success. Be careful to play in a way that captures the flavor of the song. Play in a way that supports the melody and doesn’t distract from it.
I hope you are able to check out this song and will consider sharing it with your assembly. I think you will find that it is both beautiful and effective in drawing people into worship.
Friday, September 10, 2010
The Lord Is Kind and Merciful!
Just a personal note:
I am so happy to share the news that the polyp I had on my vocal cord is gone, completely healed! Vocal rest (and, of course, medications) made a difference, as did, I'm sure, all of the prayers that were said on my behalf. Thanks to so many of you for praying for me. I can speak and sing again...the Lord is kind and merciful indeed!
God bless,
Ed
I am so happy to share the news that the polyp I had on my vocal cord is gone, completely healed! Vocal rest (and, of course, medications) made a difference, as did, I'm sure, all of the prayers that were said on my behalf. Thanks to so many of you for praying for me. I can speak and sing again...the Lord is kind and merciful indeed!
God bless,
Ed
Thursday, August 26, 2010
Don’t hit the wrong node...
Tip of the day: If you have laryngitis and continue singing, you run the risk of developing nodes.
I did.
It seems somehow ironic that my last post was about the beautiful sound of the human voice in the Thomas Aquinas Chapel at St. Meinrad, and how I stated “I do believe that we all left there with the understanding that our voice is our main instrument.”
Well, I can’t use mine for another few weeks.
It has affected my entire perspective while leading music at Mass. Obviously, I’m not cantoring—we have many talented singers who can handle that part— but I am still leading the band. It’s a little strange trying to communicate with only gestures and a white-board, but it works. So far the experience for me has been both positive...and educational. Here’s what I mean:
Since we’ve been very consistent in how we present, lead, and play our music, there hasn’t really been so much as a hiccup in the flow of things. The musicians are all very used to how I approach the songs, start them, build them up, end them, etc.. They can pretty much read my mind, knowing what I’m going to do before I do it. With a simple look or a glance I can communicate what I’m thinking and they follow me. (Yeah, they pretty much rock.) I’m sure we’ll be able to keep this up for another month or so. Maybe even longer if we have to. If it gets too long, I’ll probably need to step aside for awhile...and I don’t want to do that. I would miss it terribly. But, so far so good.
It’s also been educational in that I’ve begun to ask myself: “Am I too predictable?” In other words, maybe I need to start being more creative in the way we do things. Maybe. But then again, in a liturgical setting I think there is room (and a need) for both. As so many people have argued in the past and present–and rightfully so– it’s not a concert, it’s a liturgy. Our music is a PART of what is happening. It is meant to complement the Mass, not distract from it or even live on its own. The assembly needs to know where we are going musically. They need to be able to follow the musicians, just like the musicians are following me, even though I can’t speak or sing. So, in that sense, I guess predictable is okay. Predictable is good. As long as predictable doesn’t mean stale.
My goal, in the upcoming weeks, is to really listen while I play– to not just the notes, but the whole “tone” of what is happening. In a way, I really feel I’ve been given a gift to sit back and take it all in. I’m always so involved in every aspect of the music at Mass. For now, I can still be right in the middle of it, but listen with undistracted ears to the big picture.
“Talk” to you later...
I did.
It seems somehow ironic that my last post was about the beautiful sound of the human voice in the Thomas Aquinas Chapel at St. Meinrad, and how I stated “I do believe that we all left there with the understanding that our voice is our main instrument.”
Well, I can’t use mine for another few weeks.
It has affected my entire perspective while leading music at Mass. Obviously, I’m not cantoring—we have many talented singers who can handle that part— but I am still leading the band. It’s a little strange trying to communicate with only gestures and a white-board, but it works. So far the experience for me has been both positive...and educational. Here’s what I mean:
Since we’ve been very consistent in how we present, lead, and play our music, there hasn’t really been so much as a hiccup in the flow of things. The musicians are all very used to how I approach the songs, start them, build them up, end them, etc.. They can pretty much read my mind, knowing what I’m going to do before I do it. With a simple look or a glance I can communicate what I’m thinking and they follow me. (Yeah, they pretty much rock.) I’m sure we’ll be able to keep this up for another month or so. Maybe even longer if we have to. If it gets too long, I’ll probably need to step aside for awhile...and I don’t want to do that. I would miss it terribly. But, so far so good.
It’s also been educational in that I’ve begun to ask myself: “Am I too predictable?” In other words, maybe I need to start being more creative in the way we do things. Maybe. But then again, in a liturgical setting I think there is room (and a need) for both. As so many people have argued in the past and present–and rightfully so– it’s not a concert, it’s a liturgy. Our music is a PART of what is happening. It is meant to complement the Mass, not distract from it or even live on its own. The assembly needs to know where we are going musically. They need to be able to follow the musicians, just like the musicians are following me, even though I can’t speak or sing. So, in that sense, I guess predictable is okay. Predictable is good. As long as predictable doesn’t mean stale.
My goal, in the upcoming weeks, is to really listen while I play– to not just the notes, but the whole “tone” of what is happening. In a way, I really feel I’ve been given a gift to sit back and take it all in. I’m always so involved in every aspect of the music at Mass. For now, I can still be right in the middle of it, but listen with undistracted ears to the big picture.
“Talk” to you later...
Wednesday, July 21, 2010
Here in this place...(place)...(place)...(place)...
Earlier this month I had the privilege of spending a week at the “One Bread, One Cup” conference at Saint Meinrad Archabbey in Indiana as a catechist teaching instrumental music. Over the course of the week we celebrated several liturgies in the St. Thomas Aquinas Chapel: Morning Prayer, daily mass, Evening Prayer, etc. If you’ve never been there, the chapel is a beautiful space with an amazing amount of reverberation/echo!
I had the honor of working with Curtis Stephen (an extremely talented and gifted musician and songwriter) and together we planned the music for the various liturgies. We spent our time paging through the many resources they had available there: Voices As One, Spirit and Song, Gather, and instrumental books by GIA, WLP, and OCP. There were so many great songs from which to choose. We quickly learned that the space where we would be celebrating Mass, the chapel, would greatly influence our song choices and our instrumental arrangements.
Back at my home church of St. Ann’s in Marietta, GA and Curtis’ home church of St. Ann’s (yep…same name!) in Coppell, TX, we are used to a less reverberant room with a sound system that has been tweaked for drums, bass, guitars, horns, etc. Alas, we are used to using all different kinds of songs and arrangements, big and small. In the St. Thomas Aquinas Chapel, however, we found it best to keep it simple.
In that space, percussive sounds (drums, shakers, rhythmic acoustic guitar…even piano) get lost and muddy when played at faster tempos. We had to simplify our arrangements, adding an occasional single low drum here and there, maybe some chimes, simple strumming, etc. to make it work well. Sometimes the orchestration consisted of myself on piano while Curtis played a trumpet descant (or melody). Sometimes he’d strum guitar while I supported with a simple piano part. But in the end, it always came back to the main driving force of the song: the melody.
We tended to pick songs with simpler rhythms and soaring melodies. As always, if the song has a simple, well-crafted melody, people can sing it.
It’s easy to see how chant became the music of the church while most churches were still being built with such incredible acoustics. The St. Thomas Aquinas Chapel is a fine example of this. With nothing but the human voice you can create a sound as rich as any orchestra in a premiere concert hall. When you combine all the different timbres and octaves of the assembly’s voices together the sound is incredible! Time and time again I was moved by the prayerful tone of the teens, college students, and adults singing together—chant style—as if we’d been doing it forever.
While it would have also been nice to work with the teens in a band-type setting (drums, bass, etc.) and play music with that instrumentation, the fact that we played and sang with full, active, and conscious participation was most important. I do believe that we all left there with the understanding that our voice is our main instrument.
My week at Saint Meinrad was not only a wonderful experience in its own right, it was a reminder of how we need to always be open and adapt our music and our musical choices to our current space, assembly, and moment.
Wednesday, July 14, 2010
Allow me to introduce...sound! (part 2)
Continuing the theme from the last Setting the Tone let’s look further at how we “introduce sound” to the different moments in the liturgy. Recall that we need to look at where we are coming from—sound or silence? Do we start loudly or softly? With one instrument or two, or the full band? Then we need to look ahead to where we are going. Ending appropriately with the proper dynamic is just as important. Last issue we discussed the Entrance Song and the Responsorial Psalm. Here will look at the song at the Preparation of the Altar and of the Gifts and the Communion song.
Make music—not distractions.
More often than not, the way we perform a piece of music greatly impacts its overall effect. It might be a great song, but if the performance was distracting—not inviting—we missed the boat.
Before you begin the Song of Preparation, as we move into the Liturgy of the Eucharist, there is a noticeable ‘change of gears.’ Think of what is happening: the assembly sits down, the weekly offering is being collected, baskets are being passed, ushers are standing and walking around, gift bearers are moving to the back of the church, the reader of the Prayers of the Faithful is leaving the ambo, etc. If there was ever a good time to use the introduction portion of a song, this is it. Use instrumental music to set the tone. Most often this is the first piece of music since the Gospel Acclamation. Since then we have heard the Gospel proclaimed, listened to a homily, recited the Profession of Faith, and shared the Prayers of the Faithful. Depending on the length of the homily, this could be up to 25 minutes. (Even longer if there is a baptism.) So, take this time to musically set the tone for the Liturgy of the Eucharist. If there is no introduction in the music, make one up! Play a verse or refrain while a solo instrument carries the melody, or start with percussion, adding instruments as you go. By the time the introduction is finished, the assembly will be ready for you to lead them in the song of Preparation.
Once you begin, don’t forget to think about where you are going. While we are singing, the priest and/or deacon are preparing the gifts of bread and wine at the altar. Quite often they are “waiting,” hands folded, for the song to be finished. We are getting ready to enter into a very sacred, reverent moment. This is not the time for a “Ta da!”– type ending of the song of Preparation! It would be best to ramp down the intensity of the music as the song concludes. No big drum fills, no loud brass parts, no screaming-high tenors or sopranos. Lead into the priest’s next words: “Pray, brethren…” Now, I know at my parish we use a wide variety of songs for the Preparation of the Gifts: loud, soft, fast, slow, etc. Entering into this moment with a slow, quiet song is easy, but you can do it with a fast, loud song as well. Here’s one way that really works:
You’re playing the song of Preparation—everyone is in: drums, bass, guitars, keys, vocals, horns, etc…the works. The band is at full volume, the assembly is singing with full voice…but it’s time to end. To bring everyone to a full stop would be too abrupt. We need to ramp down the intensity. The quickest way is for the drums to stop their ‘groove.’ Let’s take “Blessed Be the Name” by Matt Redman as an example.
Example 1:
Everyone is playing/singing the refrain: “Blessed be the name of the Lord, blessed be your name. Blessed be the name of the Lord...” After that downbeat, the drums would stop, letting the cymbals ring out. The rest of the band—guitars, bass, keys, vocals— would continue to the end of that refrain, letting the last chord ring out, even after the vocals have cut off.
Having the drums drop out here creates a sudden decrease in volume and intensity by the band, but not so much that it sounds odd. The vocals and bass are continuing, which is important. There is still a fullness in the sound (maintained especially by the bass). It still sounds planned and orchestrated. The result is a smoother transition to the next liturgical moment.
Example 2:
Again, everyone is playing/singing the refrain: “Blessed be the name of the Lord, blessed be your name. Blessed be the name of the Lord, blessed be your glorious name.” Now go ahead and repeat the refrain, but have all the instruments hold out the downbeat (on the word “name.”) The only instruments that might continue would be piano and/or guitar, just on the successive downbeats (even the bass could hold out). You could easily ramp down the intensity with just vocals and piano/guitar.
Take some rehearsal time to practice these techniques with your group. Practice transitioning from a loud, full band to a quiet moment. Ramp it down. What needs to keep playing? What can stop?
Communion Songs
You’ve just finished the “Lamb of God,” Father says, “This is the Lamb of God…” and we respond, “Lord, I am not worthy to receive you, but only say the word and I shall be healed.” This is a very, quiet, reverent moment. Any appropriate communion song would need to start softly, breaking the silence gently. Counting off a measure and bringing in the band loudly would be very intrusive to the liturgical moment.
Once again, here is where you need to be creative. Ramp it up. If you’re playing a song that usually has a loud/strong intro you will need to change it for this moment. For example, the recording of “I Am the Bread of Life” (Kaczmarek) from the Voices As One CD collection begins with a nice tasteful drum fill that sets up an instrumental refrain. While great for the recording from a listening standpoint, this is not practical at Communion time. It would be better to start with one of the following:
1. Flute playing melody while piano or guitar accompanies
2. Piano playing intro with melody in right hand
3. Light percussion (congas, shakers, etc.) setting up the feel of the song
4. Synth pad with guitar or piano
Any of these ways would ease into the moment, breaking the silence with a gentle introduction. Just because the recording does it one way doesn’t mean you have to play it that way every time, or any time, for that matter.
Remember that quite often you will need to do things in a liturgical setting that you would normally never do in a performance-for-an-audience type setting. Playing music for liturgy requires a keen sense of what is happening at the moment, and where you are headed. It’s all part of setting the tone to allow the assembly to enter into full, active, and conscious participation.
Thursday, July 1, 2010
Allow me to introduce...sound! (part 1)
Whether we are choosing music for Advent, Christmas, Lent, Holy Week, Easter, or Ordinary Time, it goes without saying that we will play and sing this music for our assemblies. More often than not, the way we perform a piece of music greatly impacts its overall effect. It might be a great song, but if the performance was distracting–not inviting, we missed the boat.
You’re sitting at the piano (or holding your guitar) and the first reader has just left the ambo. As they return to their seat all eyes and ears are upon you. It is…silent. What happens next depends on you. You are about to “introduce sound” into this beautifully reverent moment of silence as listeners contemplate a reading from the Old Testament. How will you begin? Loudly? Softly? Just piano? Solo flute? A cappella voices? Drums? There are so many options, and for each we must consider the liturgical moment.
On any given Sunday the music ministry is directly responsible for leading up to 15 moments in the liturgy (not including Preludes, Sequences, Dismissal of Catechumens & Candidates, and Postludes.):
1. Entrance/Gathering Song
2. Penitential Rite
3. Glory to God
4. Responsorial Psalm
5. Gospel Acclamation
6. General Intercessions (if sung response)
7. Song during Presentation of the Gifts
8. Holy
9. Memorial Acclamation
10. Great Amen
11. The Lord’s Prayer (if sung)
12. Lamb of God
13. Communion Procession
14. Meditation/Song of Praise
15. Closing Song
That’s a lot of music, and a lot of responsibility. But we should embrace these opportunities with excitement, reverence, and musical sensibility. Over the next 2 “Setting the Tone” articles, we will take a look at some of these “liturgical moments” and consider the musical possibilities for each.
Most parishes and communities have their own style of beginning the liturgy. Some parishes and pastors request that you remain silent as you enter the church, until the gathering song. Some parishes encourage you to greet one another openly, welcoming friends and family. In other parishes the music ministry rehearses (sometimes with the assembly) before the official start-of-mass time. Depending on which Mass you attend it can also vary within the same parish. I know when I begin the 7:15 am Mass at St. Ann’s it’s a little more subdued than the 10:30 children’s mass, or the 6:00 pm contemporary teen mass!
So are you coming from sound, or silence? Are people talking openly, or praying quietly. Listen. You are about to introduce sound to this moment. Here are your options depending on what type of tone you want to set for the liturgy:
1. When starting from silence: begin the gathering song tenderly. Piano/guitar and a solo instrument playing the intro are always easy on the ears, and rather expected. A cappella voices are also a great way to start from silence. Soft percussion works as well. Remember, this is just the start of the song. Once the song gets going you can make it as big and loud as it needs to be, but “get there” first. Forget what dynamic marking is in the music…you need to make a musical decision based on where you are in the liturgy. A contemporary band coming in with a crash on a downbeat would be…loud! Is that what you want to happen there? There are times for this, and I don’t think this is necessarily one of them. Similarly, an organ with all the stops pulled out playing a really loud intro can also disturb the silence in a “not so positive” way.
2. When starting amidst a “gathering” assembly: When people are greeting one another, talking, shaking hands, etc. the sound in the room has already begun for you. You can begin almost any way you want, within reason. A nice strong downbeat with a band can add some majesty to that moment, almost like: “Wow, something big is about to happen!” People’s attention will shift forward and they will know that it’s time to begin singing.
Another option, however, is to grab their attention by playing softly…a solo voice singing the melody, a trumpet softly playing an intro, a soft downbeat by the entire band with a slow-strummed type chord in place of a “crash.” Again, people’s attention will shift forward as they begin to hear the music. Let it build as much as you want, encouraging full and active singing by the assembly.
The important thing is to be creative and musical. Don’t start every Sunday by counting 1-2-3-4 and everyone comes in together! Vary the way you begin from week to week. A single song can begin many different ways. Your assembly will appreciate the variations.
Where Are You Going?
We’re not finished, yet. The song needs to end. Just like we looked at where we were coming from (sound or silence) we need to look to where we’re going in the liturgy. The very next thing to happen is the Greeting: the Sign of the Cross. How will you set up that liturgical moment? Will you ask the priest to follow a big, strong ending where everyone, assembly included, is singing at the top of their lungs? Perhaps. Or, will you gradually bring the dynamic level down, setting up the Greeting with a brief moment of silence? It’s your choice…and it can make all the difference.
1. Start one way, end another: If you begin strong, end quietly. Start with the full band, as described above, then end with just the assembly singing the refrain of the song, accompanied by just piano or guitar. A nice way to end is by adding the last chord, softly by the whole band….(the priest beings: “In the name of the Father…”)
Similarly, if you begin quietly, end strong! Build up all the way to the end. The last chord rings out big and strong until the whole band is cutoff together by you... (the priest beings: “In the name of the Father…”)
That would be powerful musical contrast: highs and lows, loud and soft.
In the same way you can begin strong and end strong. Christmas Day and Easter Sunday come immediately to mind. It would be feel completely appropriate to be as festive as possible for some liturgies. Keep the dynamic level up.
Some Things Never Change…
Where the Gathering Song might have an intro that depends on the starting dynamic level of the room, the Responsorial Psalm always takes place within the same liturgical moment: complete silence.
Everyone has just listened to a reading from scripture and is (hopefully) contemplating its meaning in their lives. Listen. How will you introduce sound to this moment? Will you come crashing down with a big chord, trumpets and sax blaring away on the “really cool” intro of the song? That would be a big jolt to everyone in the pews. They’re not ready for that. You need to ease them into the next song. Start quietly and gradually build.
You can take any song, any song, and start it quietly. It doesn’t matter how it was recorded, and it doesn’t matter what’s on the page. Make music, not distractions. If you’re not sure how to start, try one of these methods:
1. Piano, softly in the upper octaves, playing the refrain melody
2. Guitar, gently strumming or picking the chord progression of the intro or refrain.
3. Light percussion (shaker, maracas, congas, bongos, etc.)
4. Piano/guitar and solo vocal
5. A cappella refrain, especially if it has easy, predictable 3 or 4 part harmonies
6. Flute, playing refrain melody with no accompaniment.
Depending on the nature of the song, some of these methods will probably work better than others. Just start out quietly, gradually adding to the sound. When the assembly needs to sing, bring in the bass guitar. Now you can bring it up to full volume, encouraging everyone to sing out with full voices. Use your best judgment, but be musical. Your assembly will really appreciate the efforts you make.
Welcome
Welcome to Setting the Tone: Musical Ideas for Liturgy.
This blog is a new undertaking for me, and a new way for me to share what I hope to be helpful suggestions for making the music at liturgies and prayer gatherings more meaningful, more beautiful, and more engaging for the gathered assembly. In my years as a music director, composer, music editor, and music leader I’ve learned some things...and continue to learn things!...I’d like to share with my readers. I’ve been blessed to have had the opportunity to lead music at national music, liturgy, and religious education conferences, but the majority of my experience comes from my 16+ years as a staff member of St. Ann’s Catholic Church in Marietta, Ga. There, at my home parish, I had the privilege of leading music at the Life Teen Mass from 1992–2005. In addition, I have led (and currently lead) music for the 7:15 am Mass, the 8:45 am (Contemporary) Mass, and the 10:30 am Family/Children’s Mass.
Often, my suggestions will focus on the more “contemporary” side of music for worship, but the principles can easily be applied to liturgical music of all styles. I fervently hope that you will read, comment, and share YOUR ideas with me and other readers, too. How better to learn than from one another, as we all strive to give glory to God day after day and week after week. So, welcome to Setting the Tone. I’m glad you’re here and hope you’ll stop by often.
Some of these earlier “articles” have already been shared at www.wlpmusic.com <http://www.wlpmusic.com> and through the LifeTeen Liturgy Guides.
This blog is a new undertaking for me, and a new way for me to share what I hope to be helpful suggestions for making the music at liturgies and prayer gatherings more meaningful, more beautiful, and more engaging for the gathered assembly. In my years as a music director, composer, music editor, and music leader I’ve learned some things...and continue to learn things!...I’d like to share with my readers. I’ve been blessed to have had the opportunity to lead music at national music, liturgy, and religious education conferences, but the majority of my experience comes from my 16+ years as a staff member of St. Ann’s Catholic Church in Marietta, Ga. There, at my home parish, I had the privilege of leading music at the Life Teen Mass from 1992–2005. In addition, I have led (and currently lead) music for the 7:15 am Mass, the 8:45 am (Contemporary) Mass, and the 10:30 am Family/Children’s Mass.
Often, my suggestions will focus on the more “contemporary” side of music for worship, but the principles can easily be applied to liturgical music of all styles. I fervently hope that you will read, comment, and share YOUR ideas with me and other readers, too. How better to learn than from one another, as we all strive to give glory to God day after day and week after week. So, welcome to Setting the Tone. I’m glad you’re here and hope you’ll stop by often.
Some of these earlier “articles” have already been shared at www.wlpmusic.com <http://www.wlpmusic.com> and through the LifeTeen Liturgy Guides.
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